The Alamo’s claim to fame was hosting the first ever radio show from its theatre and featuring organ music from Heyde Conrad in 1922. Conrad was at the console in March of 1924 when he was arrested in connection the murder of Richard Heaton who had been tortued by Williams Gates for three days prior to his murder. Conrad would be charged with conspiracy. The Alamo converted to sound to remain viable and appears to have closed December 25, 1935 with “Atlantic Adventure” and “Stormy.”
Broadway Amusement Co. built the venue in 1922 opening August 11, 1922 like on a 25-year lease. On April 27, 1947 it became the Airway Theatre with “Courage of Lassie” and “Blondie Knows Best.” On November 30, 1963, it became the Airways Follies Theatre with a combination of films and live stage shows on a grind policy. Opening films were Randy Brent in “Adam and Six Eves” and Odile Versois as the “Girl in Room 43.” Closing films on November 30, 1963 with “Tom at Play,” “Nature Fun” and “Art Models on Parade.” The seats were sold days later to a theatre troupe.
There were two different Cozy Theatres (as pictured). The first opened in 1917 likely on a 20-year lease. While still in operation in 1937, a new Cozy was built just south of the operating Cozy.
The second Cozy was a new build theater at this address designed in 1937 by Walter C. Wagner and was the first building in the cit with a Macotta facing. At its opening on January 15, 1938, Mayor Joseph D. Scholtz addressed the gathered and then they saw Jack Benny in “Artists and Models.”
In 1964, the Alhambra and Cozy were sold in forced sale procedures. The winning buyer decided to have the Cozy join the ranks of the parking lot brigade demolishing the venue. The Cozy stuck it out until November 15, 1965 closing with.a double feature of “I Saw What You Did” and “The Art of Love.”
The building started life as the Masonic Lodge in 1926 according to local reports. The venue became the Crescent Theatre in 1929. It became the Crescent Art Theatre in 1956 playing art films. It then became and adult theater. It appears to have gone out of business in 1985 as an adult theater.
The Lowes River Falls Cinemas became the Sony River Falls Cinemas 10 on December 31, 1994. On May 1, 1995, it became National Amusements River Falls Cinemas as part of the Showcase Cinemas family. Another photo posted of its exterior.
The J-Town Shopping Center opened theatre-less on October 11, 1960 with a Winn-Dixie grocer and a Dog ‘n’ Suds restaurant. American Multi-Cinema (AMC Theatres) opened its first area theater in the J-Town 4 as a 1,300 seat quad - two 300 seat auditoriums and two 350 seat auditoriums. It was technically the second project for the fast-growing circuit in Louisville. The Raceland Mall 4 had been announced in 1968 but the project dragged on ending up with the developer in receivership. On July 9, 1971, the J-Town 4 raced pass the Raceland to the finish line.
Mid States Cinemas (MSC) took on the AMC properties in May of 1977 operating the Raceland 4, Westland 4, Oxmoor 5, and J-Town 4. Mid States dropped the venue in December of 1978. A year later, Associated Theatres of Kentucky took on the venue rebranded it after a refresh as a sub-run, dollar discount house beginning December 26, 1979. The theatre closed July. 26, 1998.
The neighborhood Towers Theatre launched on a 25-year lease at 331 West Oak Street on November 10, 1926 with “It Must Be Love” with Colleen Moore. Broadway Amusement Company placed the pipe organ console in a lift so that there could be a choice of the organist being in full view or hidden away. The theatre was bathed in old gold, robin’s egg blue and ivory. Hugh Lloyd Nevin, Frederic Lindley and Hermann Wischmeyer of Nevin, Wischmeyer and Morgan Architects plans show an open design that would rival most any other neighborhood theater of that era. It was elegant.
The neighboring Towers Sweet Shop served as the de facto concession stand in the Towers' formative years. The venue added sound to remain viable and it closed at the expiry of its lease. Its final showings as the Towers Theatre were on October 11, 1951 with “Main Event: Willie Pep v. Sandy Sadler (Fight Film),” Piper Laurie in “Louisa,” and Francis, the Talking Mule in “Francis.” The seats were offered for sale that same day along with the concession equipment.
The theatre reopened after a refresh under new operators as the Knox Theatre. The theatre was for “Whites Only” according to 1964 policy which was relayed to the Louisville Human Regulations Commission as a violation. It appears to have closed in 1966 which would likely time out with a 15-year leasing expiry. It was converted to a Furniture and Appliance warehouse and also an auction house followed by an antiques store.
In 1984, a plan was unveiled to demolish the theatre. But the theater’s significant design stopped the plan for some 12 years. In April 1996 and just shy of the theater’s 70th Anniversary, the Landmarks Commission approved of the auditorium’s demolition. The plan left the theater’s facade looking about the same as it did in 1926 and it still stands in the 2020s.
Grand reopening ad as the Royal Theatre on October 8, 1960 with “Hell to Eternity”. The theatre had an interracial policy upon its reboot. It was then labeled as an African American only venue. Performers including Bette Levette and Mary Wells appeared on the Royal Stage. However, it appears to have closed in 1964. It was next used as a house of worship.
The 850-seat Virginia Theatre launched October 30, 1913 with 300 seats in the balcony. The rear balcony was reserved for African American audiences. The Suffolk Theatre Company launched to a capacity crowd. Film-wise, the two day appearance of “Birth of a Nation” in Oct. 1916 was the biggest hit. The theater bowed out with another live show on Mary 30, 1919. A lumber sale took place as the theater was disassembled for its next usage.
R/C Theatres closed the Plantation in style on October 29, 1982 with a triple nurse feature of Ashley Porter in “The Young Nurses,” Xenia Grass in “The Student Nurses,” and Pegi Boucher in “Private Duty Nurses.”
The Nansemond Fotosho (no “w”) opened on December 31, 1914, a 900-seat silent movie house with a Pannell’s screen on a 10-year lease. In was managed by H.C. Everhart. The first Fotosho had opened in Norfolk at 242 Main on February 25, 1911. The second was known as the Superior Fotosho and opened in November of 1913 in Richmond. The Nansemond Fotosho (named after the county housing Suffolk) was the third and it would be taken on by Suffolk Amusement Corporation which shortened the name to the Fotosho Theatre.
On the north side of the Fotosho house was J.F. Rawles confectionery which served as the de facto concession stand there. Suffolk Amusement decided to build a new theater, the Chadwick, nearby designed by architect Alexander DePre Breeden. That would replace the Fotosho and was named the Chadwick Theatre opening in January of 1925. The Fotosho announced a closure on June 2, 1925 with Hoot Gibson in “Hit & Run.” That’s the way the Fotosho Theatre would soon feel as the four walls of the Fotosho were all that remained as Suffolk built an entirely new theater within the old Fotosho space and was on the books as the “New Fotosho”.
That project was delayed, renamed, and also designed by Alexander DePre Breeden. It became the Cavalier Theatre opening with “The Tempest” on December 20th, 1928. In 1938, the Cavalier received a streamline moderne redesign by architect Claude Knox Howell. The Cavalier closed on February 4, 1956 with “Heart of the Golden West” and “New Orleans Uncensored” and was demolished shortly thereafter for a new-build J.C. Penney store.
Leggett’s Department Store purchased the Palace building at 157 North Main Street in 1963 and razed the former theater November of 1964 for its new store
July 7, 1971 Grand Opening ad with Patton in Mash in photos. Rebrand - grand opening ad as a Jerry Lewis Cinema on July 14, 1972 with “Play it Again, Sam” also in ads. Rebranded to Plaza Cinema with “Westworld” on December 27, 1973 and closed as a discount house on May 25, 1995 with “Billy Madison.”
January 26, 1925 as with launch with “The Top of the World” and a the “William Tell Overture” played on the Chadwick’s $25,000 Hope Jones Orchestral pipe organ played by J. Shepherd Brinkley in photos.
The Broadway Theatre was reopened at 347 East Washington Street on a 15-year lease with Pola Negri in “Forbidden Planet” on January 29, 1925 by Suffolk Amusement Corp. with a policy for African American patrons. The neighboring Suffolk Ice Cream creamery served as its de facto concession stand. And its near neighbor, the Phoenix Bank, was operating as an African American owned financial institution as the community was beginning to gain financial power. The theatre was converted to sound in 1929 to remain viable. But the economy cratered soon thereafter. Suffolk Amusement went into bankruptcy on November 18, 1930. And, worse yet, the Phoenix Bank went into receivership just months later.
But the Broadway Theatre was resilient. Pitt-Roth Circuit operated the Broadway through its 15-year lease. In 1940, the circuit gave it a streamline moderne makeover and the venue was renamed in a contest in December of 1940 which changed its name to the Carver Theatre in honor of Dr. George Washington Carver. The refreshed Carver now with its own concession stand opened January 24, 1941 likely on a new 25-year lease with Jane Withers in “Youth Will be Served.” Langston Fortune took over the neighboring creamery turning into the long-running Silver Slipper Cafe and Night Club. The Carver Theatre operated continuously with films through December 16, 1962 closing with Richard Todd in “The Hellions.”
After being used for live events, it was refreshed and reopened on March 17 1963 as the Lee Theatre with “Affar in in Havana” and “Attack of the Crab Monsters.” On July 23, 1964, it was reopened as the East End Theatre with “Cattle King.” The East End closed with “The Sandpiper” on March 13, 1966 reaching the lease’s expiry. The venue reverted back to the Carver Theater moniker and was a private club that had one public-facing live stage event before closing permanently. The theatre and neighboring Silver Slipper was torn down and an unimproved parking lot was created in its former footprint. The Phoenix Bank building survived into the 2020s with its ghost signage still in place.
The Carver Theatre launched February 9, 1948 with “Intrigue” By Maurice Rosenberg’s Amusements, Inc. It was known for its modern art mural depicting Carver’s life.
The Paddock Shopping Center opened theater-less in 1961 anchored by an A&P grocer. Ten years later the Ceter expanded adding the cinema March 26th, 1971Paddock Hills Closed May 29, 1988 with “Broadcast News” and “Sunset” splitting a screen with “Critters II.”
The Grand Opening of the Rainbow Theatre in Houston took place May 16, 1937 with “Pennies from Heaven” on the big screen but preceded by the marriage of Miss Lillie Mae Parker to Kenneth Arnold Gamble.
Sam S. Vigran opened the Marion on March 28, 1912 with Gilbert ‘Broncho Billy’ Anderson in “The Bandit’s Child,” Hazel Nelson in “Lulu’s Anarchism,” and D. W. Griffith’s “A Strong of Pearls.” The Marion’s lease expired on March 25, 1929 just as the New Indiana Theatre was about to open and the new-build Paramount Theatre was being completed. Thus, operator Sam Neall made the Marion’s closure permanent.
Ray and Chester O. Allen’s Opera House launched in early 1896. Their candy kitchen on the east room served as its concession stand. In January of 1898, Burk & Hallady Bros. took on the venue. It was remodeled as the New Grand Opera House and later becoming the Grand Theatre. Elsewhere in downtown, the Royal Theatre launched April 10, 1909 in the existing Johnson Block on West Fourth Street by Leroy Tudor who operated Marion’s Star Theatre. It operated on a grind policy from 2-11p playing motion pictures. George and Dolly Spurr took over with Dolly Spurr becoming the town’s first female theater owner. Alan Spurr played piano and led the Spurr Orchestra there. It was at capacity much of the time and needed more seats.
On March 14, 1912, Spurr merged with O.G. Murray’s well-established and larger, 800-seat Grand Theatre (he also of the Indiana Theatre) to create Spurr’s Royal-Grand Theatre. The grand opening titles were King Baggott in “Shamus O'Brien,” “Song of Childhood Days” with Marion Leonard, A Bad Investment,“ Anthony O'Sullivan in “Bedelia and the Suffragette,” and a song short, “In the Land of Honeymoon” with Hazel Custer.
The legendary William “Billy” Connors took on the venue and, in 1925, put in a $22,000 Page pipe organ from Defiance, Ohio, and enticed Dallas-based Palace Theatre organist Herbert Lee Kock to move to Marion. The interior was given a major refresh and it had a grand reopening to celebrate the new look and the pipe organ in August of 1925.
Fourth Ave. Amusement Co. of Louisville took on the Royal Grand, Indiana and Lyric in 1928 to update the venues and convert the Indiana and Lyric to sound to remain viable. The Royal Grand’s film days closed on Sept. 20, 1929 with Alice Day in “His New York Wife.” Fourth Ave. must have determined that the R-G wasn’t a candidate for sound especially with the new Paramount Theatre just weeks away from its debut. The Royal Grand was opened for boxing matches and sporadic live stage entertainment thereafter.
In 1932, Paramount-Publix Corp. took control of the Lyric, Indiana, and Royal Grand. They declared bankruptcy and, in 1933, suit was brought against them for failing to pay any rent on the three properties. The theaters were assigned to the Washington Theatre Company and they announced the closure of the Royal-Grand immediately and permanently. The building was torn down in 1941.
The Alamo’s claim to fame was hosting the first ever radio show from its theatre and featuring organ music from Heyde Conrad in 1922. Conrad was at the console in March of 1924 when he was arrested in connection the murder of Richard Heaton who had been tortued by Williams Gates for three days prior to his murder. Conrad would be charged with conspiracy. The Alamo converted to sound to remain viable and appears to have closed December 25, 1935 with “Atlantic Adventure” and “Stormy.”
Broadway Amusement Co. built the venue in 1922 opening August 11, 1922 like on a 25-year lease. On April 27, 1947 it became the Airway Theatre with “Courage of Lassie” and “Blondie Knows Best.” On November 30, 1963, it became the Airways Follies Theatre with a combination of films and live stage shows on a grind policy. Opening films were Randy Brent in “Adam and Six Eves” and Odile Versois as the “Girl in Room 43.” Closing films on November 30, 1963 with “Tom at Play,” “Nature Fun” and “Art Models on Parade.” The seats were sold days later to a theatre troupe.
There were two different Cozy Theatres (as pictured). The first opened in 1917 likely on a 20-year lease. While still in operation in 1937, a new Cozy was built just south of the operating Cozy.
The second Cozy was a new build theater at this address designed in 1937 by Walter C. Wagner and was the first building in the cit with a Macotta facing. At its opening on January 15, 1938, Mayor Joseph D. Scholtz addressed the gathered and then they saw Jack Benny in “Artists and Models.”
In 1964, the Alhambra and Cozy were sold in forced sale procedures. The winning buyer decided to have the Cozy join the ranks of the parking lot brigade demolishing the venue. The Cozy stuck it out until November 15, 1965 closing with.a double feature of “I Saw What You Did” and “The Art of Love.”
The building started life as the Masonic Lodge in 1926 according to local reports. The venue became the Crescent Theatre in 1929. It became the Crescent Art Theatre in 1956 playing art films. It then became and adult theater. It appears to have gone out of business in 1985 as an adult theater.
The Lowes River Falls Cinemas became the Sony River Falls Cinemas 10 on December 31, 1994. On May 1, 1995, it became National Amusements River Falls Cinemas as part of the Showcase Cinemas family. Another photo posted of its exterior.
Cinemark closed here as a discount house at the end of its 20-year leasing cycle on Oct. 25, 2009 just two days prior to its 20th Anniversary.
BTW: it is/was the Green Tree (not Greentree)
The J-Town Shopping Center opened theatre-less on October 11, 1960 with a Winn-Dixie grocer and a Dog ‘n’ Suds restaurant. American Multi-Cinema (AMC Theatres) opened its first area theater in the J-Town 4 as a 1,300 seat quad - two 300 seat auditoriums and two 350 seat auditoriums. It was technically the second project for the fast-growing circuit in Louisville. The Raceland Mall 4 had been announced in 1968 but the project dragged on ending up with the developer in receivership. On July 9, 1971, the J-Town 4 raced pass the Raceland to the finish line.
Mid States Cinemas (MSC) took on the AMC properties in May of 1977 operating the Raceland 4, Westland 4, Oxmoor 5, and J-Town 4. Mid States dropped the venue in December of 1978. A year later, Associated Theatres of Kentucky took on the venue rebranded it after a refresh as a sub-run, dollar discount house beginning December 26, 1979. The theatre closed July. 26, 1998.
The neighborhood Towers Theatre launched on a 25-year lease at 331 West Oak Street on November 10, 1926 with “It Must Be Love” with Colleen Moore. Broadway Amusement Company placed the pipe organ console in a lift so that there could be a choice of the organist being in full view or hidden away. The theatre was bathed in old gold, robin’s egg blue and ivory. Hugh Lloyd Nevin, Frederic Lindley and Hermann Wischmeyer of Nevin, Wischmeyer and Morgan Architects plans show an open design that would rival most any other neighborhood theater of that era. It was elegant.
The neighboring Towers Sweet Shop served as the de facto concession stand in the Towers' formative years. The venue added sound to remain viable and it closed at the expiry of its lease. Its final showings as the Towers Theatre were on October 11, 1951 with “Main Event: Willie Pep v. Sandy Sadler (Fight Film),” Piper Laurie in “Louisa,” and Francis, the Talking Mule in “Francis.” The seats were offered for sale that same day along with the concession equipment.
The theatre reopened after a refresh under new operators as the Knox Theatre. The theatre was for “Whites Only” according to 1964 policy which was relayed to the Louisville Human Regulations Commission as a violation. It appears to have closed in 1966 which would likely time out with a 15-year leasing expiry. It was converted to a Furniture and Appliance warehouse and also an auction house followed by an antiques store.
In 1984, a plan was unveiled to demolish the theatre. But the theater’s significant design stopped the plan for some 12 years. In April 1996 and just shy of the theater’s 70th Anniversary, the Landmarks Commission approved of the auditorium’s demolition. The plan left the theater’s facade looking about the same as it did in 1926 and it still stands in the 2020s.
Announced that it is closing permanently on January 5, 2025.
Grand reopening ad as the Royal Theatre on October 8, 1960 with “Hell to Eternity”. The theatre had an interracial policy upon its reboot. It was then labeled as an African American only venue. Performers including Bette Levette and Mary Wells appeared on the Royal Stage. However, it appears to have closed in 1964. It was next used as a house of worship.
The 850-seat Virginia Theatre launched October 30, 1913 with 300 seats in the balcony. The rear balcony was reserved for African American audiences. The Suffolk Theatre Company launched to a capacity crowd. Film-wise, the two day appearance of “Birth of a Nation” in Oct. 1916 was the biggest hit. The theater bowed out with another live show on Mary 30, 1919. A lumber sale took place as the theater was disassembled for its next usage.
R/C Theatres closed the Plantation in style on October 29, 1982 with a triple nurse feature of Ashley Porter in “The Young Nurses,” Xenia Grass in “The Student Nurses,” and Pegi Boucher in “Private Duty Nurses.”
The Nansemond Fotosho (no “w”) opened on December 31, 1914, a 900-seat silent movie house with a Pannell’s screen on a 10-year lease. In was managed by H.C. Everhart. The first Fotosho had opened in Norfolk at 242 Main on February 25, 1911. The second was known as the Superior Fotosho and opened in November of 1913 in Richmond. The Nansemond Fotosho (named after the county housing Suffolk) was the third and it would be taken on by Suffolk Amusement Corporation which shortened the name to the Fotosho Theatre.
On the north side of the Fotosho house was J.F. Rawles confectionery which served as the de facto concession stand there. Suffolk Amusement decided to build a new theater, the Chadwick, nearby designed by architect Alexander DePre Breeden. That would replace the Fotosho and was named the Chadwick Theatre opening in January of 1925. The Fotosho announced a closure on June 2, 1925 with Hoot Gibson in “Hit & Run.” That’s the way the Fotosho Theatre would soon feel as the four walls of the Fotosho were all that remained as Suffolk built an entirely new theater within the old Fotosho space and was on the books as the “New Fotosho”.
That project was delayed, renamed, and also designed by Alexander DePre Breeden. It became the Cavalier Theatre opening with “The Tempest” on December 20th, 1928. In 1938, the Cavalier received a streamline moderne redesign by architect Claude Knox Howell. The Cavalier closed on February 4, 1956 with “Heart of the Golden West” and “New Orleans Uncensored” and was demolished shortly thereafter for a new-build J.C. Penney store.
Leggett’s Department Store purchased the Palace building at 157 North Main Street in 1963 and razed the former theater November of 1964 for its new store
July 7, 1971 Grand Opening ad with Patton in Mash in photos. Rebrand - grand opening ad as a Jerry Lewis Cinema on July 14, 1972 with “Play it Again, Sam” also in ads. Rebranded to Plaza Cinema with “Westworld” on December 27, 1973 and closed as a discount house on May 25, 1995 with “Billy Madison.”
January 26, 1925 as with launch with “The Top of the World” and a the “William Tell Overture” played on the Chadwick’s $25,000 Hope Jones Orchestral pipe organ played by J. Shepherd Brinkley in photos.
The Broadway Theatre was reopened at 347 East Washington Street on a 15-year lease with Pola Negri in “Forbidden Planet” on January 29, 1925 by Suffolk Amusement Corp. with a policy for African American patrons. The neighboring Suffolk Ice Cream creamery served as its de facto concession stand. And its near neighbor, the Phoenix Bank, was operating as an African American owned financial institution as the community was beginning to gain financial power. The theatre was converted to sound in 1929 to remain viable. But the economy cratered soon thereafter. Suffolk Amusement went into bankruptcy on November 18, 1930. And, worse yet, the Phoenix Bank went into receivership just months later.
But the Broadway Theatre was resilient. Pitt-Roth Circuit operated the Broadway through its 15-year lease. In 1940, the circuit gave it a streamline moderne makeover and the venue was renamed in a contest in December of 1940 which changed its name to the Carver Theatre in honor of Dr. George Washington Carver. The refreshed Carver now with its own concession stand opened January 24, 1941 likely on a new 25-year lease with Jane Withers in “Youth Will be Served.” Langston Fortune took over the neighboring creamery turning into the long-running Silver Slipper Cafe and Night Club. The Carver Theatre operated continuously with films through December 16, 1962 closing with Richard Todd in “The Hellions.”
After being used for live events, it was refreshed and reopened on March 17 1963 as the Lee Theatre with “Affar in in Havana” and “Attack of the Crab Monsters.” On July 23, 1964, it was reopened as the East End Theatre with “Cattle King.” The East End closed with “The Sandpiper” on March 13, 1966 reaching the lease’s expiry. The venue reverted back to the Carver Theater moniker and was a private club that had one public-facing live stage event before closing permanently. The theatre and neighboring Silver Slipper was torn down and an unimproved parking lot was created in its former footprint. The Phoenix Bank building survived into the 2020s with its ghost signage still in place.
The Carver Theatre launched February 9, 1948 with “Intrigue” By Maurice Rosenberg’s Amusements, Inc. It was known for its modern art mural depicting Carver’s life.
Reopened in May of 2023 and hinted but has not confirmed a January 1, 2025 closure. I would remove renovating and go for open. Will update later.
Closed October 1, 1960 after showing “Tarzan, the Magnificent”
Opened Nov. 23, 1921 with movies for African American audiences
The Paddock Shopping Center opened theater-less in 1961 anchored by an A&P grocer. Ten years later the Ceter expanded adding the cinema March 26th, 1971Paddock Hills Closed May 29, 1988 with “Broadcast News” and “Sunset” splitting a screen with “Critters II.”
The Grand Opening of the Rainbow Theatre in Houston took place May 16, 1937 with “Pennies from Heaven” on the big screen but preceded by the marriage of Miss Lillie Mae Parker to Kenneth Arnold Gamble.
Sam S. Vigran opened the Marion on March 28, 1912 with Gilbert ‘Broncho Billy’ Anderson in “The Bandit’s Child,” Hazel Nelson in “Lulu’s Anarchism,” and D. W. Griffith’s “A Strong of Pearls.” The Marion’s lease expired on March 25, 1929 just as the New Indiana Theatre was about to open and the new-build Paramount Theatre was being completed. Thus, operator Sam Neall made the Marion’s closure permanent.
Ray and Chester O. Allen’s Opera House launched in early 1896. Their candy kitchen on the east room served as its concession stand. In January of 1898, Burk & Hallady Bros. took on the venue. It was remodeled as the New Grand Opera House and later becoming the Grand Theatre. Elsewhere in downtown, the Royal Theatre launched April 10, 1909 in the existing Johnson Block on West Fourth Street by Leroy Tudor who operated Marion’s Star Theatre. It operated on a grind policy from 2-11p playing motion pictures. George and Dolly Spurr took over with Dolly Spurr becoming the town’s first female theater owner. Alan Spurr played piano and led the Spurr Orchestra there. It was at capacity much of the time and needed more seats.
On March 14, 1912, Spurr merged with O.G. Murray’s well-established and larger, 800-seat Grand Theatre (he also of the Indiana Theatre) to create Spurr’s Royal-Grand Theatre. The grand opening titles were King Baggott in “Shamus O'Brien,” “Song of Childhood Days” with Marion Leonard, A Bad Investment,“ Anthony O'Sullivan in “Bedelia and the Suffragette,” and a song short, “In the Land of Honeymoon” with Hazel Custer.
The legendary William “Billy” Connors took on the venue and, in 1925, put in a $22,000 Page pipe organ from Defiance, Ohio, and enticed Dallas-based Palace Theatre organist Herbert Lee Kock to move to Marion. The interior was given a major refresh and it had a grand reopening to celebrate the new look and the pipe organ in August of 1925.
Fourth Ave. Amusement Co. of Louisville took on the Royal Grand, Indiana and Lyric in 1928 to update the venues and convert the Indiana and Lyric to sound to remain viable. The Royal Grand’s film days closed on Sept. 20, 1929 with Alice Day in “His New York Wife.” Fourth Ave. must have determined that the R-G wasn’t a candidate for sound especially with the new Paramount Theatre just weeks away from its debut. The Royal Grand was opened for boxing matches and sporadic live stage entertainment thereafter.
In 1932, Paramount-Publix Corp. took control of the Lyric, Indiana, and Royal Grand. They declared bankruptcy and, in 1933, suit was brought against them for failing to pay any rent on the three properties. The theaters were assigned to the Washington Theatre Company and they announced the closure of the Royal-Grand immediately and permanently. The building was torn down in 1941.